■ LIBRARY OF CONGRESS. 

Shelf ..(1<^ 






UNITED STATES OF AMEBICA. 



THE 



''GUIDE." 



A FULL AND PLAIX TREATISE ON TOE 



THEORY AND PEACTICE OF 

Carriage painting. 



COMPRISING THE 

LATEST IMPROVEMENTS IN GILDING, BRONZING, ORNAMENTING, 

STRIPING, VARNISHING, COMPOSITION OF COLORS, &C., 

ESPECIALLY ADAPTED TO CARRIAGE AND WAGON 

MAKERS AND GENERAL PAINTERS, 



WITH AN APPENDIX, 

GIVING NAMES AND LOCATIONS OF THE PRINCIPAL DEALERS IN 
PAINTS, VARNISHES, JAPANS, BRUSHES, ARTIST'S MATE- 
RIALS, &C., IN NEW YORK AND BOSTON. 



By G. W. CLARK, Clarence Centre, N. Y. 



BUFFALO, N. Y. : 

HAAS & KELLEY, PRINTERS AND PUBLISHERS. 
1870. 






4^ C' 



Entered Acconling to Act of Congress, in^the Year IdTO, 
]]Y G. W. CLARK, 

In the office of the Librarian f)f Congress, at Washington. 



i.^"« 



PREFACE 



The object of the Carriage Painter's Guide, is 
to give to the uninitiated in this art, a plain and 
comprehensive method, together with materials 
used, and mode of application. Knowing well the 
disadvantages that thousands are laboring under, 
not knowing even the first rudiments of this diffi- 
cult art — the author has aimed to embodj^, in as 
limited a space as possible, all that is required to 
produce a job of the first order in point of fulness, 
durability, brilliancy, and superior tone of finish. 

This work is miniature in size and appearance ; 
but within its pages will be found correct rules 
and principles, pertaining to carriage painting, 
which, if strictly followed, will prove satisfactory, 
and this work will have filled its mission. You 
have at a glance all the secrets and principles that 
we have labored a lifetime to attain, which should 
be a source of wealth to any person that has occa- 
sion to reduce them to practice. 



THE 



j^AI^RIAQE pAINT£R'p ^C^UIDE 



Arrangement of Shop. 

The first important consideration in carriage 
painting, is a suitable place to do your work ; a 
room where dust can be excluded, and free ven- 
tilation had when required. The arrangement for 
light should be such, that you can get its rays 
equally from each side, or sky-lights, when prac- 
ticable. In regard to tools, they should be the 
best that can be procured ; without these require- 
ments you will meet with many vexations and 
disappointments. The paint-mill is the first in 
order in the schedule of tools, — the best in use is 
manufactured by O. C. Harris, Waterville ; and 
J. A. Boutwell, Sangerfield, N. Y. A marble 
slab, muller and palette knife or spatula, are three 
indispensible articles, and will be called often into 
requisition. The best ground medium sized oval 
varnish brushes, for heavy coating, and camel's 
hair for light colors on finishing. The latter 
should be from one and a half to two inches in 
breadth, w^ith hair from three-fourths to one inch 



6 THE CARRIAGE PAINTER's GUIDE. 

in length ; when new, care should be taken to re- 
move and work out all loose hair and tightening 
the nails in the socket, and using them on some 
coarse work until this difficulty is obviated. These 
as well as bristle brushes, should be kept in water 
when not in use, by piercing holes through the 
handles and suspending them on wires, in order 
to keep the tips from resting on the bottom of the 
vessel containing the water. 

Fitch hair is invariably used for body varnish- 
ing. These brushes vary in length from one to 
four inches ; the two-inch tool is the best adapted 
for ordinary carriage work. These are to be kept 
in raw oil when not in use, in a covered vessel 
suspended the same as the color brushes. They 
should be washed out clean in turpentine before 
using. Grreat care should be taken in the cleanli- 
ness of your cups designed for varnish. Pour out 
only the quantity desired for immediate use, as it 
will not do to let your varnish stand for any length 
of tmie in cups. They had better be washed out 
immediately with turpentine, wiped dry and set 
away out of the dust. In all first-class shops is 
kept a vessel that receives all the washings from 
the varnish tools, this can be used in mixing 
rough stuff or coarse colors. 

The next in order of tools is a thin elastic broad 
and square pointed putty knife, dust and water, 
brush, sponge, chamois skin and water bucket. 



THE CARRIAGE PAINTERS GUIDE. 7 

Grounds and Colors, 

All paints and colors should be procured in a 
dry state, and ground in quantities required for 
immediate use when wanted. The principal 
paints used in carriage painting, preparatory to 
receiving its color, as ground for black, are : best 
white lead, with sufficient quantity of lamp black 
to give it a greyish tinge, usually termed lead 
color. 

JPaints E^njjloyed for Grounds and 
Colors. 

The ground for vermillion : Two parts Vene- 
tian red, and one part red lead, for priming. 
Second and third coats : Venetian and red lead in 
equal parts ; (this also makes a good finish for 
lumber wagons, it makes a rich cherry red when 
varnished). Ground for browns : Two parts Vene- 
tian red to one part lamp black. Ground for 
straw color : best quality of white lead, add 
chrome yellow in small quantities — if dark, add 
a few drops of Venetian. Ground for cream 
color : White lead, and yellow ochre. Ground 
for green : White lead and lamp black. Ground 
for wine color : Indian red, two parts ; lamp 
black, one part. Ground for blue : White lead 
and Prussian blue. For priming coats, the above 
grounds should be ground fine in raw oil ; for dryer 
use one ounce of litherage or sugar of lead to one 



8 THE CARRIAGE PAINTERS GUIDE. 

pint of oil. These grounds, as well as colors, 
should be run through the mill in a thick mass, 
it requires less time, and your colors will be 
finer. Dilute with raw oil for all priming. This 
should be well rubbed in with a stiff brush, which 
would be far better ; after applying with the 
brush, rub in thoroughly with the hand. If these 
precautions are taken, you will not have the mor- 
tification of having your paint chipping off from 
the wood, which would be the result should your 
priming be too thick. 

In mixing second coats for grounds, grind in 
raw oil, same as the priming, using the same pre- 
caution, and have it run through as thick as will 
admit ; add to this Japan dryer, in proportion to 
the amount of oil used in grinding, which should 
be one part dryer to two parts oil ; dilute with 
turpentine to the desired consistency for use, 
which should not be too thin, apply this coat with 
a bristle brush, and rub out well. This should 
not be put on until the priming coat has become 
perfectly dry and hard, sand papered, puttied, 
and dusted off. Putty for carriage work should 
be made as follows : 

Quick Drying JPutty. 

Dry white lead and Spanish white in equal 
parts, mixed with hard drying or rubbing varnish ; 
this works better when thin ; to keep this from 
drying out it should be kept in water. 



THE CARKIAGE PAINTERS GUIDE. 9 

Third Coat of Ground. 

Grind in one part oil, two parts Japan ; dilute 
with turpentine, as before ; sand paper 3'our work 
slightly, dust, and apply this with a flat earners 
hair-brush. This coat will require more turpen- 
tine than the second coat, in order to have it flow 
more readily from the brush. No. 2|- sand paper 
is the best for finishing up grounds. We now 
have the cherry red for lumber wagons and straw 
color, brought to a state ready for striping, as 
the ground and color are in one. To any person 
not accustomed to striping, it would be better to 
give the two last mentioned an extra coat by add- 
ing rubbing varnish equal in bulk to the third 
coat of ground, bringing it to the desired consis- 
tency to flow readily over your work, washing 
the work with cold water before striping, to pre- 
vent its crawling. {See Rules for Striping.) 

To give a clear and comprehensive illustration 
of rules and principles to be observed in painting 
a new carriage, in course of completion from the 
woodshop to the trimmer, we will have to take 
some one vehicle, for instance, a buggy, which is 
designed to be painted black. That being the 
predominating color. In order to ensure success 
in attaining the most important requisites, viz., 
dnrability, brilliancy and richness of tone, we 
cannot deviate from the old and well established 
rules which experience has demonstrated. 



10 THE CARRIAGE PAINTERS GUIDE. 

All woodwork should be primed (inside and 
out) before taken to the blacksmith shop, filling 
all screw and brad heads, checks, cracks, &c. It 
is the carriage-body maker's duty to have a level 
surface, free from hollows, plane marks, kc. The 
screw heads should be plugged, being careful not 
to drive the plug so as to come in contact with the 
screw, giving it a chance to expand when exposed 
to extreme heat; use glue on the edges of the 
plug only. By this means the surplus glue is left 
on the surface, and if the plug does not hit the 
screw it will seldom show. Set the heads of the 
brads well in, then pass a sponge of hot water 
over them filling the holes. This brings the wood 
back more to its natural position, and closes by 
degrees over the head of the brads. When dry, 
sandpaper off and prime. The carriage body will 
be retained in the paint shop while the running 
parts are being ironed. As it will require a 
greater amount of coats, therefore, it will be neces- 
sary to get it in rough coating, while the car- 
riage part is in the hands of the smith. 

When the priming has become sufficiently dry 
and hard, you will proceed to putty all brad and 
screw heads and uneven places, leaving the putty 
flush as it will be cut smooth and level in the pro- 
cess of scouring down the rough coat ; the car- 
riage parts will be puttied before sandpapering, 
which will cut it down even; glaze all spots of 



THE CARRIAGE PAINTER's GUIDE. 11 

rough grain and cut it down close with sand 
paper when dry. For mixing and applying second 
coats see " Grrounds," page 7. 

Three coats of lead will be all that is required 
on body or carriage parts ; using sand paper 
slightly on second and third coats in order to re- 
move ail specks remaining on tlie surface, using 
caution not to cut through to the wood, dust when 
YOU are ready for the rou2;h coat. 

To mix rough coating, first application, to four 
pounds of yellow ochre or English filling, add 
one pound of best white lead, grind stiff in two 
parts, hard drying or rubbing varnish to one part 
Japan and one part raw oil; dilute with turpen- 
tine to the consistency of thick paste, and rubbed 
out well with a bristle brush, when hard apply 
the second coat mixed the same as the first, with 
the exception of dispensing with the raw oil and 
substituting the same amount of wearing varnish. 
Third coat the same. 

Three coats of rough stuff is all that will be 
required, with but few exceptions, that depends 
on the skill of the body maker to a great extent. 
The time required for each coat to dry depends 
in a great measure on the stock you are using, 
atmosphere, &c., but as a general rule it will not 
do to apply the second coat until the first coat has 
stood thirty-six or forty hours. The third in 
twenty -four. The whole to stand at least forty- 



12 THE CARRIAGE PAINTER's GUIDE. 

eight hours before it will do to scour down, if not 
hurried it would be safer to let it stand five or six 
days. To persons unacquainted with this scour- 
ing process, it would be advisable, after the last 
coat has become hard enough, to mix lamp-black 
with two parts Japan, one part rubbing varnish 
and thin with turpentine, and apply a light coat 
over the surface of the rough coating, rubbing it 
well into the pores. This wnll serve as a guide 
in rubbing down, that is, when you have this rub- 
bed out. It will not be safe to cut any deeper as 
you would be liable to work through to the grain 
of the wood and the w\ater coming in contact with 
it will cause it to rise. If at any time this should 
occur, it should be sandpapered down when dry, 
and touched up Avith priming and made smooth 
with emery paper when dry. 

When your rough coat has become sufficiently 
hard, you will proceed to scour it down, (as termed 
by the generality of painters,) for this, select the 
softest lumps of pumice stone ; should they be too 
large, you can saw them in blocks to suit; or 
worked in any desired shape with a coarse wodd 
rasp and water, before rubbing you will wet your 
surface with a sponge and wash ti off often 
to see that you are not working below your guide. 
Water should be used freely as the stone cuts fast- 
er when it is kept wet, w^ork close in corners, 
mouldings, &c. When your job has been rub- 



THE CARRIAGE PAINTER'S GUIDE. 18 

bed down level and smooth, wash clean with 
cold water, using your water tool in corners, 
under projections where you cannot get at readily 
with your sponge, wipe dry with chamois skin, 
let it stand for a few minutes when you can give 
it a polishing with emery paper, dust off thor- 
oughly. The job is then ready for the first coat of 
color or its base. 

Lamp-black is the best adapted for a base or 
ground, for drop or ivory black, its body and 
covering qualities, together with its extreme dura- 
bility and adhesiveness should recommend it. 
This is to be ground and mixed in two parts 
Japan to one of rubbing or hard drying varnish, 
diluted with turpentine, to be laid on quick and 
even with the camel's hair brush ; this will dry 
hard in a few hours, although the next coat must 
not be laid on under twelve or fifteen hours, then 
to be rubbed over slightly with curled hair or 
moss, to remove any particles remaining on the 
surface, dust off thoroughly before applying the 
next coat, which will be drop black. The best in 
use is the pulverized diamond jet, by using which 
you will save time and labor in crushing ready 
for the mill. This will have to be brought to a 
greaf degree of fineness — running it through the 
mill the second and often the third time, mix and 
apply the same as the lamp-black, using the same 
precautions in rubbing and dusting. This will do 



14: THE CARRIAGE PAINTERS GUIDE. 

to coat in twelve or fifteen hours, unless speed is 
desired, when it can be coated in from six to eight 
hours, but we would not vouch for any varnish 
cracks that would be apt to appear on the surface. 

The coloring to be commenced on the carriage 
part at the same time as the body, using the lamp- 
black as the base and drop black for second coat- 
ing, having the whole in a state to " color varnish" 
as termed by carriage painters, that is to add a small 
quantity of your drop black you will have left to 
your rubbing varnish; great care should be taken, 
however, in covering every part with your " dead 
color" or it will be liable to show through the 
color varnish, perhaps it would be better for a 
new beginner to give his job the second coat of 
drop black " dead," before applying the varnish 
color coat, to be put on the carriage part with a 
bristle brush, using fitch hair on the body. This 
will do to rub in twenty or twenty-four hours, 
which sould be done with superfine pumice stone 
and water, using felt or heavy woolen cloth for a 
rubber ; mix your pumice stone in some conveni- 
ent vessel, a tea-saucer would answer all purposes, 
you do not want to use this in very great quanti- 
ties on this coat, only sufficient to take off 
the specks that remain on the surface; wash off 
with cold water and wipe dry with chamois skin. 

Great care should be taken to wash out all 
particles of pumice stone which are apt to remain 



THE CARRIAGE PAINTERS GUIDE. 15 

concealed in corners, &c., using the water brush; 
if this precaution is not taken it will be brought 
out with your varnish brush when applying the 
next coat, which will give your work the appear- 
ance of being sanded. 

The running part of the buggy is now ready 
for the striping, (see treatise on striping,) when 
you will first proceed to flow on a coat of rubbing 
varnish. This will receive a thorough rubbing 
with pulverized pumice stone and water, v/ashing 
clean, using sponge and water tool,wiping dry with 
chamois skin. Use caution in rubbing the square 
corners at the the base of the spokes. Should 
yon have the misfortune to rub through at any 
time, you will touch up with dead color coating. 
This is to be used also in cutting square ends to 
your striping on the spokes, and straightening up 
any uneven places ; the whole carriage part will 
receive its finishing coat, using wearing carriage 
varnish. Flow on as heavy as possible, using a 
fitch hair brush as a smoother, which is to be used 
dry. To level your work and take out the var- 
nish pits, wants to be done with alacrity before 
your varnish sets, for instance, on a wheel you 
will apply your varnish between the spokes first 
wdth a small tool, next on the front edge, work- 
ing only half way up in order to cover the flat Y 
shaped part only, standing in a position to have 
your left hand on the rim of the wheel, with the 



16 THE CARRIAGE PAINTERS GUIDE. 

hub directly in front, commence by flowing your 
varnisb on the flat sides of the spokes opposite, 
when all have been done, repeat the operation on 
the flats next to you, when done reach across and 
wipe up on the right hand quarter, with a dry tool, 
all surplus varnish that has flowed over, wiping 
your brush out often over the edge of your var- 
nish cup. Finish spokes by flowing on the back 
edges and leveling with dry tool, finishing hub 
and rim last. This rule should be adopted in 
painting a wheel also. You will now give the 
body a second coat of color varnish, using not 
quite as much black as in the first, when dry 
hard give it a more thorough rubbing than the 
first, use the same precaution in washing out the 
particles of pumice stone in dusting off your var- 
nished surfaces. The brush should be clean or 
you will not make much headway in the opera- 
tion. I have found it a good plan to oil the tip 
of the duster before using it on a job of this kind. 
In order not to get too much on you will pour a 
a few drops of oil in the palm of your hand, rub- 
bing it out evenly over the surface, and working 
the points of the bristles thoroughly therein, which 
w^ill cause all fine particles of lint and dust to 
adhere, beating the brash out over your hand. 
Your job is now ready to receive the ornaments 
and " stripe" when required. When dry give it 
a coat of clear rubbing varnish, doing the upper 



THE CARRIAGE PAINTERS GUIDE. 17 

parts first, wiping out under projections, mould- 
ings, &c., with a small dry fitch hair tool. It will 
be better to flow on to large surfaces with a bristle 
brush and level with broad fitch hair tool, using 
the point of the brush square on your work, 
wiping out the surplus varnish over the edge of 
your cup. First lay your work off lengthways of 
your job, then cross ways, repeating the process 
very light the second time, wiping out under pro- 
jections and mouldings lightly, as before men- 
tioned. The object is to get your varnish on even 
if not you are sure to have it sag. When this 
coat is dry it will be required to cut it down more 
than the previous coats, that is until you have all 
specks removed, using great caution to not cut 
through, as patching up now would be apt to show 
through the finishing coat, wash clean and dust 
as before, ^ when you are ready for the finishing 
coat of wearing body varnish, apply as before 
using the same precautions. The time usually 
required for this coat to dry hard is from three to 
five days. 

Varnish Mules. 

Use the best coach varnish in the market, buy- 
ing an inferior article to save dollars and cents 
will be found dearest in the end ; never condemn 
au article until you have learned its peculiarities 
by noting its workings at different times. All 



18 THE CARRIAGE PAINTER's GUIDE. 

that is required on a body is to cover well, the 
thinner the coat the better. Only one grade 
should be used in all coats but the last. Never 
attempt to. use varnish that will not flow readily 
in a temperature of seventy- five or eighty degrees. 
This can be remedied by the use of turpentine, 
but the life and lustre of your varnish is gone. 
It would be better to return it to the manufac- 
turer. Buy your varnish directly from the manu- 
facturers or their agents. Every manufacturer has 
his own brands or terms for describing his goods ; 
hence a purchaser may buy of one varnish manu- 
facturer what he calls No. 1 coach, and of an- 
other what he calls by the same name, and get a 
very different article. The great aim of the cele- 
brated varnish makers is, to have their varnishes 
uniform in quality, so that purchasers once obtain- 
ing their goods can, at all times, get the same 
brands per catalogue. 

Age adds greatly to the value of oil varnishes. 
All coach and outside varnishes are unfit for use 
until they have stood from six to twelve months. 

Varnish Items — To Harden Varnish. 

A newly varnished carriage should not be ex- 
posed to the dust and mud before washing in clear 
and cold soft water, it hardens the surface and 
prevents*its spotting. 



THE CARRIAGE PAINTER's GUIDE. 19 

When hard drying or rubbing varnish sets too 
quick, add a small quantity of wearing body. 

Eepair jobs should be thoroughly rubbed with 
superfine pumice stone and water, which will give 
them the appearance of a newly painted job, in 
touching up you can get the desired shade re- 
quired by wetting the color you wish to represent. 
Xever choose a wet muggy day to do your var- 
nishing. 

Arrangement of Varnish Itoom, 

This, as well as the paint room, requires light, 
ventilation, and means of excluding the dust 
The windows should be so arranged as to let them 
down from the top ; with curtains or blinds to ex- 
clude the rays of the sun. The floor to be tight 
to prevent the dust from raising from the wood or 
smith shops. Walls and ceilings should be hard 
finished or plastered and arranged so as to be free 
from any circulation of air. The floor should be 
sprinkled and wet down, walls and ceilings dusted 
before any attempt will be made to varnisL 

English Mode of JPainting a Coach 
Body* 

The English rule for painting a coach or car- 
riage body is : Seven coats of lead, seven coats of 
rough stuff, three coats of color, one coat of glaz- 
ing, four coats of hard drying varnish, one coat of 



20 THE CARRIAGE PAINTER'S GUIDE. 

wearing body ; twenty-three coats from the be- 
ginning. 

Method of finishing a carriage with the perma- 
nent wood filling : With this, the body is primed 
inside and out to keep the wood from shrinking, 
one of elastic rough stuff, putty coat, following 
with three coats of ordinary rough stuff, two coats 
of color, two or three coats of black body var- 
nish ; by this method you dispense with the rub- 
bing coats. This method is coming fast into 
general use. It has a very rich effect, and is des- 
tined to take the place of the old method in some 
of the principal shops. The black body varnish 
is manufactured by Yalentine & Co., Cambridge- 
port, Mass. The above should be protected by 
Yalentine's " Wearing Body." 

These are put up in 1, 2 and 5 gallon cans, and 
can be procured of any of the principal dealers 
in carriage painters' supplies. 

Ordinary jobs, such as express, lumber and mar- 
ket wagons, do not require the skill that should 
be displayed on first-class carriages, therefore, the 
amount of stock and tools are not required. The 
same with ordinary carriage work, repair jobs, 
&c. In many cases you can turn out a commend- 
able job with very ordinary tools ; since the intro- 
duction of prepared color manufactories, you can 
purchase it ready prepared, that is, ground in oil. 
The only objection is that it requires a longer 



THE CARRIAGE PAINTER's GUIDE. 21 

time to dry. When using the colors you will take 
off the to]3 of the can, which can be done with a 
pocket knife, carefully remove all oil remaining 
on the top, mix in Japan equal to one half of the 
quantity you have in bulk of paint, dilute with 
turpentine as before mentioned. By using these 
colors you dispense with paint-mill, slab and 
muller, also palette knife by substituting a thin 
plated table-knife, using a heavy plate window 
glass for palette. 

For an ordinary quick black, use Eddy's Ee- 
fined Lamp Black, this requires no grinding, all 
that is required is to mix it in a thick paste, two 
parts Japan to one part rubbing varnish, dilute as 
before. For second coat add double the amount 
of rubbing varnish ; when dry rub your work 
over with moss or curled hair, when you will 
stripe, and finish with medium varnish. 

This class of work can be done with an ordinary 
bristle brush. Use tube colors for striping, and 
transfer ornaments. (See striping and ornament- 
ing.) It pays the mechanic much better on 
the above class of work than that which requires 
a higher grade of finish. 

Where to JProciire Colors. 

Any of the following colors can be obtained in 
patent cans or tubes, ground in Japan or drying 
oil and turpentine, as may be required, for coach 
and car work, at a much lower price than the 



22 THE CARRIAGE PAINTER's GUIDE. 

paints ordinarily ground in paint-shops can be 
procured for. These colors are of absolute puri- 
ty, and of a fineness never before attained. In 
brilliancy of color they cannot be equalled, aa no 
colors are sold in the market of the quality of 
those produced by this enterprising firm. Their 
superfine drop blacks, ground for coach and car- 
riage work, are wholly from ivory, and ground in 
the best coach Japan. These colors all dry quick- 
ly and flat perfectly. No painter can aiibrd to 
grind his own colors in the shop in view of the 
superiority of the paints put up by this firm. I 
have used them and can heartily recommend 
them to the trMe. I have had no occasion for a 
paint mill or sLab since the adoption of these col- 
ors. Any of the following colors can be procur- 
ed from the firm of Masury & Whiton, Globe 
White Lead and Color Works, 111 Fulton St., 
New York, in cans and tubes : 

White Lead. 

Blacks. — English Ivory Drop ; Lamp, Eddy's 
Eefined. 

Blues. — Chinese, Prussian, Ultramarine. 

Eeds. — Carmine, French ; Carmine, Lake Ger- 
man ; Scarlet Lake ; Scarlet Lake, No. 3 ; Munich 
Lake ; Solferino. 

Yermillions. — English Pale, English Deep, Tri- 
este, Chinese, Persian, American. 

Scarlets. — Light, Dark, Eose Pink, Chautaumne 
Lake. 



THE CARRIAGE PAINTER'S GUIDE. 23 

Eecl Yenetian. — English, American. 

Red Indian. — Genuine; Fine ; Red Lead, Eng- 
lish ; Red Lead, American ; Litherage, English. 

Yellow. — Chrome, A, pure ; Chrome, A, chem- 
ical ; Chinese, Oxford, Dutch Pink, Rochelle Ochre, 
Havre Ochre, Brandon Ochre. 

Greens. — Paris, Emerald, Hibernia, Chrome, 
Magnesia, Marseilles, Permanent, Yerdigris. 

Browns. — Turkey Umber, burnt ; Turkey Um- 
ber, raw j Yandyke Brown, Italian ; Sienna Italian^ 
burnt ; Sienna Italian, raw ; Spanish Brown. 



TUBE COLOR ORDUSTARY.— MISCEL- 
LANEOUS. 

Tube colors, enumerated on this page, can be 
purchased from any dealer. ' See appendix. 

Antwerp Blue, Asphaltum. 

Bitumen, Blue Black, Bone Brown, Brilliant 
Yellow, Brown Ochre, Burnt Roman Ochre, 
Burnt Terra vede. 

Caledonia Brown, Cappah Brown, Cessel Earth. 
Cork Black, Chrome Orange, Cologne Earth, Chi- 
na White, Kremlitz White. 

Flake White, Silver Y^hite. 

Gamboge, Indigo, Italian Pink, Kings' Yellow, 
Mummy. 

Naples Yellow, New Blue, Olive Lake, Olive 
Tint, Orpiment. 

Permanent Blue, Permanent White, Prussian 
Brown, Purple Lake. 

Roman Ochre, Sugar of Lead. 



24 THE CARRIAGE PAINTER'S GUIDE. 

Transparent Gold Ochre, Terra Eosa, Terra 
Yerde, Yerona Brown, Yeronese Green. 
Yellow Lake, Zinc White. 

EXTEA COLOES. 

Burnt Lake, Gaude Lake, Sepia, Citron Yellow, 
Zanober Green, Antimony Yellow, Mars Yellow, 
Malachite Green, etc. 



Compound Colors. 

The colors arising from mixture are innumera- 
ble. My object is to give the simplest and most 
comprehensive method of preparing them. These, 
when the unity of two colors, are termed " the vir- 
gin tints." The greatest purity and riches is at- 
tained in using the least number of colors. In 
mixing tints, I will give the body color first, or 
the one which predominates ; and next, the one 
that has the strongest relation to it, and so on. 
It is almost an impossibility to give the pro- 
portions a minute exactness, as this will be owing 
to the strength of the colors used, and taste, 
judgment, etc., of the operator. 

TaUe of Tints. 

Brick Color. — Yellow ochre, two parts ; red lead 
one part ; white. 



THE CARRIAGE PAINTER's GUIDE. 25 

Bronze Oreen. — Permanent green, lamp black, 
chrome yellow, raw umber. 

Chestnut. — Eed four parts, black three parts, 
chrome yellow one part. 

Chocolate. — Lamp black two parts, Spanish 
brown two parts, yellow one part. 

Claret. — Eed four parts, umber two parts, lamp 
black one part 

Cream. — White four parts, chrome yellow one 
part, raw umber. 

Changeable. — Red two parts, chrome green one 
part, tint with white. 

Carnation. — Madder lake, three parts ; one part 
white. 

Lead Color. — Six parts white, one part lamp- 
black. 

Dove Color. — White, four parts ; vermillion, two 
parts; blue, one part; chrome yellow, one part. 

Flesh Color. — Two parts lake, one part white 
lead, and a little vermillion. 

Fawn Color. — Two parts white lead, one part 
stone ochre, and vermillion to suit 

Oold Color. — Two parts stone ochre, add red 
until you get the desired shade. 

Grass Oreen. — Chrome yellow ; add prussian 
blue to get the desired shade. 

Jacquel. — Two parts chrome yellow, two parts 
rose pink, tone with white ; this is only used in 
distemper. (See Striping.) 



26 THE CARRIAGE PAINTER'S GUIDE. 

Light Grey. — Six parts wliite lead, and prussian 
blue to suit. 

Light Timber Color. — Two parts yellow ochre, 
one part white lead; tone with umber. 

Light Willow Green. — White lead, brought to 
the desired shade with verdigris. 

Lime Stone Color. — Four parts white lead, three 
parts yellow ochre, one part black, tone with red. 

Lemon Color. — White lead, tone with light 
chrome yellow to get the desired shade. 

Lilac. — White lead four parts, Yeneti an red one 
part, tone with Prussian blue. 

Pearl. — Ten parts white lead, one part lamp 
black, tinge with Prussian blue. 

Peach Blossom. — White lead eight parts, red 
one part, blue and yellow combined one part. 

Pea Green. — White lead, add chrome green to 
get the tone desired. 

Purple. — Yiolet tinctured with blue and white 
in equal quantities. 

Oahwood Color. — White lead eight parts, one 
part yellow ochre, tone with raw umber. 

Orange. — Chrome yellow, tinge w^ith Venetian 
Red. 

Olive. — Chrome yellow eight parts, Prussian 
blue one part, black and white combined one part. 

Portland Stone Color. — Raw umber two parts, 
yellow ochre two parts, white lead one part. 



THE CAREIAGE PAINTER'S GUIDE. 27 

Rose Color. — White lead two parts, add madder 
lake for desired shade. 

Sand-stone Color. — White lead six parts, yellow 
ochre three parts, black one part, tinge with red. 

Snuff Color. — Yellow ochre four parts, Vandyke 
brown to suit. 

Silver Gray. — White lead nine parts, indigo and 
lamp black combined, one part. 

Straw Color. — White lead and chrome yellow, 
add the latter to get the desired tone. 

Salmon Color. — White -lead, chrome yellow, 
raw umber, Venetian red. The white lead for base, 
then add the other ingredients in small quantities 
until the required shade is produced. 

Violet Color. — Vermillion four parts, Prussian 
blue and white lead combined one part. 

Drab. — White lead six parts, raw umber one 
part ; or white eight parts, yellow ochre one part, 
Venetian red and lamp black combined one part. 

Plum (7oZor.— White lead four parts, Prussian 
blue one part, Venetian red one part. 

Darh Poke Berry Cb/or.— Indian red, three 
parts, Prussian blue one part ; or, rose pink three 
parts, lamp black one part. 

Invisible Gree?i.— Two parts lamp black, one 
part chrome green. 

^roii;;2.— Venetian red, brought to any shade 
with lamp black. 



28 THE CARRIAGE PAINTER's GUIDE. 

These tints can be broaght to any degree of 
lightness with white and yellow. 



To JPaint a Spring or Express Wagon. 

Boston Style. Body dark green, running parts 
Vermillion. 

Rules for Painting Body. Prime with dark lead 
color, mixed in raw oil, using a small quantity of 
japan dryer; when dry, sand-paper, dust and 
putty ; color your putty with dry Venetian ; 
second and third coats of lead ; two parts Japan 
to one of oil, dilute with turpentine. 

Two Coats Rough Coating — Two Coats Green 
To three parts green add one part lamp-black, 
grind in japan, dilute with turpentine, using a 
small quantity of varnish as a binder. 

One Coat Color Varnish. Eub &c., when dry, 
grind lamp-black, in two parts japan and one part 
rubbing varnish. Thin tothe desired consistency, 
and with this cut in the champers making the 
whole frame work black; your black does not 
require to be very thick ; regulate this with tur- 
pentine by having it in a cup handy for that pur- 
pose ; a palette or small pane of glass will be 
required, first dipping your striping pencil in your 
color and working it well into the hair. This will 
not require any great amount of skill, as it will 
come very handy to you after but a few attempts. 



THE CARRIAGE PAINTER'S GUIDE. 29 

Your pencil for this work wants to be of camels 
hair, and quite short; your pencil must not be 
too full for this work ; commence by dropping the 
point of your pencil on the work, and let it down 
gradually as you commence drawing, keeping the 
same Vv^eight of your hand on the pencil, until 
the color is exhausted, ending with the point also. 
By curving in the wrist, with but a very little 
practice you can accomplish this art. All coarse 
line striping should be mixed in the same man- 
ner. (See striping.) The star shaped centre, 
formed by the right-angles of the frame work, 
dividing the four panels, can be finished with a 
good effect in the following manner : — Take a 
piece of cap paper, say four inches square, and 
double it each way in the centre, when it will 
make it four thicknesses and forming a square of 
two inches, take a sharp knife and clip off the 
corner, which will be the centre when opened, 
then each way from this scollop out in a semi-egg 
shape, drawing it gradual]}^ and gracefully to a 
point; when opened the four points will be found 
to correspond with the right-angles in your frame 
work, which can be sized with a light coat of rub- 
bing varnish. When this becomes a little tacky 
lay your pattern on the angles, and rub it over 
with bronze and so on, until you have them all 
complete. Stripe the panels with a mathematical 
pen, in distemper, give it a coat of rubbing var- 



so THE CAERIAGE PAINTER's GUIDE. 

nish, rab lightly, finish with coat of wearing body 
varnish ; paint the inside ; when the box is done, 
prime the running part with Venetian red mixed 
in raw oil, add a small quantity of japan dryer, 
putty, &c. Second and third coats equal parts of 
Venetian and red lead, one coat vermillion. Yarnish 
color, stripe &c., finish with flowing coat of 
wearing carriage. 

Style second for Spring Wagons. Bodies brown 
or dark wine color; running parts straw color. 

Style Third. Bodies vermillion, trimmed, with 
black, running parts light drab. The average 
prices for painting this class of work, range from 
eighteen to twenty-two dollars, at this present 
time, 1870. 

Hepair Worlc, 

When you have received an old job which is 
to be painted, it should be first thoroughly washed 
off, using sponge and water-tool ; remove all par- 
ticles of grease that have accumulated on various 
parts. If the job is to be black, the rims and all 
spots that are bare, should be primed with lead 
color ; deep varnish cracks to be glazed with 
quick-drying putty ; when dry, rub down with 
lump pumice stone and water, and finish up as 
before mentioned. 



THE CARRIAGE PAINTER'S GUIDE. 31 

JBurniiig off Old I^aint, 

To take off old Paint and Varnish. This is 
done bj heating a block of iron and holding it 
near the work until the oil commences to fry, 
when it can be scraped off with a putty knife. 

Mules for Striping. 

The operator should use his own taste and 
judgment in displaying this art, and be governed 
in a measure by the predominating styles in dif- 
ferent localities, and those adopted by the celebra- 
ted makers. Bronze is the rage at present, and 
this is used very moderate, viz : A stripe on the 
base of the seat, and moldings is all that is re- 
quired on the body. On carriage parts, four stripes 
on each hub, one each on the clips, and the tips of 
spring bars. They should be from three- eighths 
to one-half inch in breadth, with a fine vermillion 
or carmine stripe on the fronts of the spokes. 
Spring wagons, lumber work, &c., will admit of a 
greater display. Your colors for broad line strip- 
ing works best when ground in Japan, or gold 
size, by adding a small quantity of rubbing var- 
nish ; in using lamp black it will require one part 
varnish to two parts Japan. Owing to its fatty 
nature, dilute with turpentine to the proper con 
sistency. Use glass or palette as before mentioned. 

Tube colors are in general use for fine lining ; 



32 THE CARRIAGE PAINTER'S GUIDE. 

they are cheapest and most convenient, and of a 
great degree of fineness. To facilitate their dry- 
ing, prepare Japan and turpentine equal parts in 
a cup you will have for that purpose. Unscrew 
the cap of the tube and squeeze out the quantity 
desired on your palette or glass ; then dip your 
pencil in the prepared Japan and turpentine, and 
work it in the color in order to fill it. Then com- 
mence with the point of your pencil, letting the 
whole down on your work gradually, drawing at 
the same time, ending up on the point. When 
you have your stripe drawn the required distance, 
or the color becoming exhausted, end with the tip 
by curving your wrist under. In fine lining 
panels, etc., use a mathematical pen ; with this 
method it can be done very quick and neat, mak- 
ing a perfect hair line. This will require to be 
done with your color mixed in distemper ; strong 
beer is the best, or. add a small quantity of sugar 
with vinegar, using dry colors. Those with light- 
est bodies work best, such as French zinc, vermil- 
lion, ultramarine, &c., and should be ground very 
fine in the distemper. Fill the pen with a short 
camel's hair pencil, using a straight edge as a 
guide, or with the dividers. Should you make 
any mis-strokes, the color can be wiped out with 
a damp chamois skin. This should receive a coat 
of rubbing varnish, using caution in rubbing to 
not cut through into the stripe, as the water will 



THE CARRIAGE PAINTER'S GUIDE. 33 

work it up. It will require a second rubbing coat 
before cutting down thoroughly. These pens can 
be purchased from any stationer or mathematical 
instrument manufacturer, in handles same as com- 
mon writing pens, or adjusted to dividers. 

Bronzing, 

This should be done on the color varnish; the 
surface to be thoroughly rubbed down with pul- 
verized pumice stone and water, in order to kill 
the gloss. Give the parts which are to be bronzed 
a washing in a thin solution of ordinary starch 
and water, letting it dry and remain until jou have 
gone through with the operation of bronzing. 

To JPrepai^e Siting for Bronze. 

Grrind a small quantity of chrome yellow in 
wearing varnish ; apply with a camel's hair pencil 
same as in ordinary striping. When the size be- 
comes tacky, proceed to put on your bronze pow- 
der in the following manner : Take a small ball 
of raw cotton and enclose it in a ]_3iece of cotton or 
silk velvet by bringing the corners up together 
and wind with twine ; this will form a handle ; it 
requires to be about the size of a walnut. Dip 
this in the bronze powder and rub it lightly over 
the work. When dry, wash with a sponge and 
cold water, to remove all the starch and superflu- 
ous bronze. Should any bronze adhere to the 



34 THE CAERIAGE PAINTER'S GUIDE. 

surface, where it is not desired, it can be rubbed 
out with superfine pumice or rotton stone and 
water, at the same time rubbing it lightly over 
the stripe to remove all loose particles that the 
varnish brush would be apt to work out ; wash 
off, etc. 

Gildiiif/. 

This does not require a great amount of skill ; 
still, there is a '' know how " to handle gold leaf 
There are various ways, but the simplest method 
is to take your book and lay it down on some lev- 
el surface, and by the use of a straight edge and 
sharp paper knife cut the back entirely off Then 
take the first paper off that is used between the 
leaves of gold. Lay it on a level board or table, 
and rub it over lightly with a hard lump of beef 
tallow ; take the paper and rub the superfluous 
tallow oft' by rubbing it on the ball of the hand. 
Place it back on the leaf with the tallowed side 
down, rubbing the points of your fingers evenly 
over the paper, being careful and touch every 
part. Eaise the paper by inserting the point of a 
knife under it and you will find the leaf nicely 
adhered to the tallow. This can be cut in any 
desired shape required, when it can be laid on 
your sizing, rubbing it on with the points of your 
fingers. Eaise the paper off with the point of a 
knife, as before mentioned, and the leaf will re- 



THE CARRIAGE PAINTER's GUIDE. 35 

main ; rub it over with a ball of raw cotton, when 
your gilding is complete. Prepare the sizing 
same as for bronzing. Gold leaf can be shaded 
or glazed with any of the following transparent 
colors : For yellow, sienna earth, Indian yellow, 
Dutch pink and yellow lake. Eeds, madder car- 
mine, madder lakes, lac lake, dragon's blood and 
rose pink. Blue, indigo. Orange, orange lead, 
golden sulpher of antimony, burnt sienna, mad- 
der orange. Greens, prussian green, verdigris. 
Purples, Burnt carmine and madder lake. — 
Russet, prussiate of copper. Browns, burnt um- 
ber, mummy and asphaltum. Blacks, ivory black, 
bone black, Frankfort black and Spanish. In 
using the above transparents, make use of sugar 
of lead as a dryer. 

Striping and Oniamentiifig JPencils, 

These are made from camel or sable hair. Those 
for striping should be from one inch and a half to 
two inches in length, and for ornamenting purpo- 
ses, from one-eighth to one inch, with tapering 
points. 

To Clean Striping JPencils, 

Wash out with turpentine, draw them repeat- 
edly through a lump of beef tallow and place 
them on a window glass, rubbing them out with 
the points of your fingers in a straight position. 
When wanted wash out with turpentine. 



36 THE CARRIAGE PAINTER's GUIDE. 

Ornamenting. 

It would be impossible to impart any correct 
ideas that would be comprehensible to the novice, 
pertaining to this difficult art. To become profi- 
cient it would require years of study and practice, 
and would in no way benefit the class this work 
is designed to help. We have an auxilliary that 
can be called into requisition; i. e., the beautiful 
and saving art of decalcomine or transferring. 
This has superseded and taken the place of the 
old method. Ornaments can be put on ninety 
per cent, cheaper, and far superior to those pro- 
duced by hand. The annexed extract from At- 
kinson & Go's circular, which is printed without 
permission, will convey a great deal of informa- 
tion on this subject. 

Fine Transfer Ornaments, 

For carriages, buggies, sleighs, furniture, etc, 
direct from Paris. Sold by W. Atkinson & 
Co., 1270 Broadway, New York. Always on 
hand the largest and best collection of designs 
in America. The numbers from 800 t© 1212 
are designed especially for carriages, but are used 
for all purposes. The leading styles are secured 
by copy-right. In ordering it is only necessary 
to give the number, and how many pieces and 
pairs desired ; but it is well to state desired use. 
Orders less than five dollars must be accompanied 



THE CARRIAGE PAIXTER'S GUIDE. 37 

with the money, or they will not be filled. We 
can give reference, but ask none, as our terms are 
net cash. Ornaments sent by mail to all parts of 
America, when orders are accompanied with the 
cash. This saves you the frieght and is from, one 
to three days quickest. "We send orders of five 
dollars or over, per express, to collect on delivery. 
Money may be sent, if desired, per post office or- 
der, in registered letter, or a draft to our order, 
which cannot be lost. For the sake of introduc- 
ing our goods, all who order one dollar's worth or 
over, we will send full instructions how to use 
them, with your ornaments, if desired, without 
extra charge for information ; also tell you how to 
mix your own cement to use. This alone is worth 
considerable. All painters should know this 
quick, fine, saving art. Ornaments are finished 
within two minutes with the finest oil colors in 
them, and need no touching up with a pencil. 
Seventy-five to ninety per cent, is saved by using 
our ornaments. In ordering give yoar county 
and state, and name of Express company, if not 
ordered by mail. We make no charge for postage 
on ornaments when mailed. New styles added 
every month. All our ornaments show on ground 
of any color. Over 3000 designs, and constantly 
adding. Send for circular. Address 

W. ATKINSON & CO., 

1270 Broadway, N. Y 



88 THE CARRIAGE PAINTERS GUIDE. 



A P PE N D I X. 



KISSAM & GUNDAKER, 



MAMUFACTUBBBS OF 



Office, 221 Pearl Street, 
Corner JPlatt Street, UHW T0S.K. 

Put up in 1, 2, 3 and 5 Gallon Cans. 

Factory 105, 107, 109, III and 113 Chestnut Street, 



Having used the Japans and Yarnishes manufactured by the 
above firm, I can heartily recommend them to the public. I 
have always found them to be uniform, and to possess all the 
following requirements — Durability^ Brilliancy and FuUness. 
Their 

I. E. WEARING BODY. 

A very elastic varnish, made with great care, from the choic- 
est materials, and in accordance with the best English formula. 
It contains a large quantity of bleached oil, is very durable, 
and designed for the finishing coat on coach bodies and railroad 
cars, takes from three to four days to dry perfectly hard, sets 
free from dust in 24 hours, and has been pronounced by good 
judges equal to any imported. Price, per gallon, $5.20. 



THE CAREIAGE PAINTER's GUIDE. 89 



WEARING CARRIAGE. 

This is also an elastic varnish, and designed for the finishing 
coat on running gears ; has the same relation to the latter as 
I. E. wearing bodj has to bodies, is made of selected gum 
and bleached oil, and is very durable. Sets free from dust in 
about twenty-four hours, and dries hard in about two days. 
Retail price, $4.75. 



HARD DRYING BODY. 

A very light shade, quick-drying varnish, also made of the 
choicest materials. Is designed for a finishing coat on all out- 
side fine work, when only a very limited time is allowed for the 
varnish to dry ; also to mix with the previous described var- 
nishes to hasten their drying. If desired, dries hard in from 
twelve to fifteen hours. Retails for $4.90. 



PALE RUBBING. 

A very fine pale varnish, used as the first coat or base (after 
being rubbed down) on coach bodies and railroad cars to receive 
the finishing coat, and give the latter a smoother and brighter 
lustre. Consumers are generally more particular in regard to 
the quality of this than any other of the outside varnishes. In 
it they claim to excel any other manufacturer, as their numer- 
ous testimonials will prove. Price $4.25. 



RUBBING. 

Is the same in every respect as pale rubbing, 'except being 
of darker shade ; consequently will not answer as well on light 
paint or wood. Price, $3.75. 



NO. 1 COACH BODY. 

This is also an elastic varnish, suitable for coach and carriage 
bodies, when exceedingly light or fine varnish is not required. 
It is made of hard gum, with sufficient oil to stand the changes 
of climate and weather, and is in very general use for these 
purposes. Sets free from dust in twenty-four hours, and dries 
hard in forty-eight hours. Price, $3.00. 



40 THE CARRIAGE PAIXTER'S GUIDE. 

COACH OR CARRIAGE. 

Tliis is the quickest drying of the outside varnishes, and is 
designed for wagons, running parts of carriages, graining and 
ordinary outside work, v/hen a light colored varnish is not re- 
quired. Dries hard within twenty-four hours. Price $2.75. 

ENAMELED LEATHER TOP. 

This is a black varnish, designed for rejuvenating buggy tops, 
containing enough oil to make it very elastic and durable. Dries 
hard in twelve to fifteen hours. Price $3.00. 

O. M. JAPAN. 

A light colored dryer for coach and car painters' use, made 
of gum copal, aud designed to mix with linseed oil and paints, 
to hasten their drying. This is considered a very superior 
dryer. Price $1.60. 

PAINTERS' JAPAN DRYER. 

A similar dryer to the C. M., of a deeper brown color, and 
used by painters for drying of paints ; dries very quickly. 
Price $1.35. 



We publish the above without permission from the manufac- 
turers. Our object is to give the names of different grades, and 
the prices we have been paying at the present time, 187 0. 
Although varnishes are subject to fluctuation from various 
causes, prices can be obtained at any time by sending for de- 
scriptive catalogue and price current. 

Established 1827. 

EDWARD SMITH & CO., 

(late smith & STRATTON,) 

Manufacturer of Varnishes, 

2^0. 161 Wniiam Street, 

EDWABD SMITH, WM^F W€kWW 



THE CARRIAGE PAINTER'S GUIDE. 41 

FEI01, lOHB ^ 0@. 

MAXUrAOTUREKS OF 

No. 27S Rail Road Avenue, 

NEWARK, N. J. 



COACH AND CARRIAGE VARNISHES. 

IMPORTED ENGLISH BODY, (finisking,) 
WEARING BODY, (finishing,) 
HARD DRYING BODY, 
RUBBING BODY, 

WEARING CARRIAGE, 

MEDIUM CARRIAGE, (or No. 1 Coach) 
DARK CARRIAGE (or No 2 Coach) 
PALE DRYING JAPAN, 
BROWN JAPAN, 
BLACK ASPHALTUM. 



EBEN FISHER, 

(Successor ti W. C. Hunneman, 
MANUFACTURER OF AND DEALER IN 

COPAL VARNISH k JAPANS 

IN ALL THEIR VARIETIES. 

65 Commercial Street, BOSTON. 



42 THE CARRIAGE PAINTER S GUIDE. 

Varnish & Japan Manufacturers 

CAMBBIDGEPOliT, 31 ASS. 

Office, 88 Chambers Street, - - NEW YORK. 

Fos^ Office Box, 28 iS. 



(We will give the brauds sold by these celebrated manufac- 
turers, that in ordering, the reader of the " Guide" can clearly 
designate the brands and grades, (published without permis- 
sion,) viz: 

PERMANENT WOOD FILLING, (dark,) 

(liglit.) 

A patent article for priming out-side work, and permanently 
filling and darkening natural wood. 

This is being used in the first shops in the United States, 
and is fast filling the place of the old method. — The Author.) 

JAPAN GOLD SIZE, 
For Drying, Binding and Hardening Colors. 

OIL GOLD SIZE, 
For Gilding. 

CROWN COACH JAPAN, 

For Drying and Hardening Paints. 

ENAMELED LEATHER TARNISH, 
For renovating the Black Enameled Leather of Carriage Tops. 

NO. 1 BLACK YARNISH, 
For Iron Work. 

QUICK BLACK LACQUER, 
For touching up in repairing iron-work on gears, &c. 



THE CARRIAGE PAINTER'S GUIDE. 43 

BLACK BODY YARNISH, 
For producing a Jet Black Surface on Coaches. 

QUICK LEVELING YARKISH, 
For under-coats on Gears, or on Bodies requiring dispatch. 

ELASTIC LEVELING YARNISH, 
For under-coats on Bodies of Coaches. 

HARD DRYING BODY YARNISH. 
For under-coats on best work. 

ONE-COAT COACH A'ARNISH, 
For Finishing only. 

ELASTIC GEAR YARNISH, 
For Finishing the "Wheels and under-parts of Carriages. 

RAILWAY BODY YARNISH, 
For Finishing only. 

MEDIUM DRYING BODY YARNISH, 
For Finishing Coats only. 

WEARING BODY YARNISH, 
For Fiaishing Coats only. 

DEALER IN 

Paints,Oil, Varnish, Brushes, 

GOLD LEAF, BRONZE, 

STRIPING PENCILS, MATHEMATICAL PENS, &c. 
JSTo. 87 East Genesee Street, 

SYRACUSE. N. Y. 



4-i THE CARRIAGE PAINTER's GUIDE, 

General Manufacturers and Dealers in Var- 
nishes in Neiv York^ 

Wm. A. Andoe, 181 Pearl St. Holopp & Co., 462 Canal St. 

Carey & Baker, 427 east 25th F. S. Learned, 142 Maiden 

Street. Lane. 

Bell Bros., & Co. 159 Front St. A. H. Louis & Co. 143 Maiden 

Blodget Wm. Tilden, 252 Pearl Lane, 

Street. Henry Louis, 318 Pearl St. 

Brooks & Fitzgerald, west c, A. G. Mandel & Co., 242 Pearl 

west 25th street. Street. 

Thomas B. Brooks, 73 Gold F. Marx & Co., 179 William 

Street. Street. 

Christal & Struthers, 224 and Masury & Whitton, 111 Fulton 

226 Pearl Street. Street. 

John Julius & Co., 207 Pearl George L. Wood, 214 Pearl 

Street. Street. 

J. D. Gilmore, 260 Pearl St. Woodbury & Co., 129 Maiden 

M. W. Griswold & Co., 249 Lane. 

Pearl Street. Smith, Baldwin & Co., 110 jJohn 

Wm. Harland & Son, 57 Cedar and 425 east 25th Streets, 

ESTABLISHED 1S06. 

HARRISON BROS., & CO. 

PROPRIETORS OF THE 

''GRAY' S FERRY'' AND ''KENSINGTON" 

White Lead, Color & Chemical 

Connected by Private Telegraph Wires, 

The Sole Property of the firm, with their Offices 105 South 

Front Street, Philadelphia, and No. 16 Burling Slip, 

South-East Corner Water St., New York. 



THE CARRIAGE PAINTER'S GUIDE. 45 

LEWIS E. WERTHEIMBER, 

104: William Street^ - NEW YOBK, 

IMPORTER OF 

And al! Goods used by Coach Painters. 

Begs to call the attention ot the trade to his 

SUPERIOR BRONZE POWDER, 

specially prepared to suit for " striping" of Carriage parts, &c,, 
&c. Twenty diiferent shades, used by the first houses of the 
Country, and the demand constantly increasing. Address for 
Sample, Card and Price List, Box 4048, P. 0., New York City. 



PARKER & GILLISPIE, 



MANUFACTURERS OF 



Varnishes and Japans 

228 I^EJ^KX- SOTIJEIET, 

Between Maiden Lane and John, 

CHA''R'lErH.''GlLLlSPla. NEW YORK. 



46 



THE CARRIAGE PAINTER's GUIDK 



General Dealers in Carriage JPainter's 
sii])plies. 



John Chrisler, 795 Broadway, 

Albany, N. Y. 
Wm. Deyermand, 381 and 383 

Broadway, Albany, N. Y. 
Fonda & Bagley, 70 and 72 

State St., Albany, N. Y. 
John R. Humphrey, 89 Wash- 
ington Ave., Albany, N. Y, 
A. McClure & Co., 74 and 76 

State St., Albany, N. Y. 
J. J. Basset, Amsterdam, N. Y. 
A. Putman, " " 

Herman Wendall, " " 

Jas. H. Loomis, Attica, N". Y. 
Joshua Burt. Auburn, N. Y. 
T. J. Kennedy, Auburn, N. Y, 
H. A. Smith, Binghampton, " 
Philip Becker & Co., 468 and 
470 Main St., Buffalo, N. Y. 
John J, Hoppneh, 9 Court 

Street, Buffalo, N. Y. 
F. S. Pease, 65 and G7 Main 

Street, Buffalo, N. Y. 
Post & Yiergiver, 13 East 
Swan Street, Buffalo, N. Y. 
E. P. Crocker, Cambridge, " 
Samuel D. Tilletson, Canan- 

dagua, N. Y. 
David B. Dunham, Catskill, 

N. Y. 
Jonas Dillenbeck, Cobleskill, 

N. Y. 
Y. C. Stone, Ft. Edward, N.Y. 
Whithouse & Co., " 
Matthew Wilson, Geneva, IST.Y 
Murray, White & Co., Homer, 

N. Y. 
R. H. Crampton, Oneida, N.Y. 
W. L. Hauptman, Morrisania, 

K Y. 
Pickert & Drury, Oswego, N.Y 
Geo. Ashley, Little Falls, N.Y. 
H. D. Thatcher, Pottsdam, " 



Palmer & Deyo, 367 Main St., 

Poughkeepsie, N. Y. 
Thomson & Co. Poughkeepsie. 

N. Y. 
Henry Barnard, 23 Front St., 

Rochester, N. Y. 
M. &. E. Huntingden, 36 Main 

Street, Rochester, N. Y. 
J. G. Luitwiller, 86 Main St., 

Rochester, N. Y. 
Osgood & Farley, 4 Front St., 

Rochester, N. Y. 
Thomas Whitehouse, No. 1 

Allen St., Rochester, N. Y. 
Geo. P. Russ, Rome, N. Y. 
Gates & Co., Saratoga Springs. 
S. G. Searing, Saugerties, N.Y. 
E. L. Freeman & Co., Schenec- 
tady, N. Y. 
Yedder & Thornton, Schnec- 

tady, N. Y. 
Alfred Carr, Stapleton, N. Y. 
William Grant, Sing Sing, N.Y 
J. L. Ostrom, 396 River St., 

Troy, N. Y. 
George R. Ward, Brockport, 

Sweeden, N. Y. 
L. & J. Saulter, 56 E. Vv^ash- 

ington St., Syracuse. 
M. C. Hewel & Son, Utica,N.Y 
Wiseman & Timmerman, 30 

Bleker Street, Utica, N. Y. 
Wheeler & McLean, Waterloo, 

N.Y. 
Chas. L. Achard, Scottsville, 

N. Y. 
William McCollough, Niagara 

Falls. 
T. S. Whitney, Niagara Falls. 
A. M. Rowell, Suspension 

Bridge, N. Y. 
R. H. Hoff, Port Byron, N.Y. 



THE CARRIAGE PAINTER S GUIDE. 47 

201 and 203 North Fourth Street, 
PHILADELPHIA, 

IMPORTERS, MANUFACTURERS AND DEALERS IX 

PAINTS, OILS, VARNISHES, 

AND COACH PAINTER'S SUPPLIES, 
CARRIAGE TRANSFERS. 

We offer to the trade, from our large stock, a full and complete 
assortment of goods needed by Coach Painters, con- 
sisting in part of 

CARMINES & LAKES, BRONZE, GOLD LEAF, CHINESE, 

ENGLISH, FRENCH, TRIESTE, AND AMERICAN 

YERMILLIONS. 

TUBE COLORS, 

In great variety of Foreign and Domestic Manufacture. 

CAMEL'S HAIR & SABLE PENCILS, STRIPERS 

VARNISH AND FAINT BRUSHES, 

English Drop Black, Rose Pink, Indian Red, Noble & Hoar's 
Coach Varnishes, Enamel Black, etc. 

Valentine's Varnishes and Permanent Wood Filling, 

In One, Two, and Five gallon cans. 



Of eur own manufacture, of the following brands: " Pure, 
"Empire," "Tyrone," "Oxford," and "Pearl"' 

ROBERT SHOEMAKER & CO., 
North-East corner 4th and Race Sts., Philadelphia. 



CONTENTS. 



PAGE. 

Arrangement of Shop, . 5 

Appendix, 3S 

Bronzing, 33 

Burning off old Paint, 31 

Brushes, 8 5 

Compounding Colors, 24 

Colors, 21-24 

Decalcomine, 36 

English mode of Painting Carriage Body, 19 

Fitch Hair Brushes, 6 

Gold Leaf to Lay, 34 

Gold Size to prepare, 33 

Grounds for Colors, 7 

Gilding, 34 

Ornamenting, 36 

Repair Work 30 

Striping,— Method of 31 

Pencils, ". . . . 36 

A^arnish Room — arrangement of 19 

Rules, 17-18 

Transparent Colors, 35 

Rough Coating, — to mix, , 11 

Tints, &c 24 

Errata. — On page 6, — eleventh line — for length read hreadtJi. 



THE 



arriage mnhtrs m gainter's 
''GUIDE." 



A KULL AND PLAIN TRBATI8K ON THE 



THEORY AND PRACTICE OF *^ 

Carriage Painting. 



COMPRISING THE 

LATEST IMPROVEMENTS IN GILDING, BRONZING, ORNAMENTING, 

STRIPING, VARNISHING, COMPOSITION OP COLORS, &C., 

ESPECIALLY ADAPTED TO CARRIAGE AND WAGON 

MAKERS AND GENERAL PAINTERS, 

WITH AN APPENDIX, " 

GIVING NAMES AND LOCATIONS OF THE PRINCIPAL DEALEiEl8 IN 
PAINTS, VARNISHES, JAPANS, BRUSHES, ARTIST'S MATE- 
RIALS, &C., IN NEW YORK AND BOSTON. 



By G. W.'CLARK, Clarence Centre, N. Y. 



BUFFALO, N. Y. : 

HAAS & KELLEY, PRINTERS AND PUBLISHERS. 
1870. 



METZ & BLOGHER, 

MANUFACTURERS OF THE 

SPUING STEEL 

TOOTH RAKES 




7 

LIGHT & HEAVY CARRIAGES, 

Lumber & Spring Wagons, 



All Orders Promptly Filled, 

Packed and Shipped, to all parts of the Uiii- 
fed States and Canada. 



B. METZ, D. BLOCHER. 

CLARENCE CENTRE, N. Y. 



